Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Rajkumari song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 5022 Post No. : 16930 Movie Count : 4596

Today’s song is from an obscure old film – Chhote Sarkar-1938.

My today’s post is No.32 of this year i.e. 2022. Since 1st January 2022, the pattern of my poists seems to have changed perceptibly. Earlier I was known for writing on films of the 30’s and the 40’s on priority, but this year, till my last post (31 posts), I have written only 3 posts on films of the 30’s, only 11 posts on films of the 40’s but 17 posts on films of the 50’s. Come to think of it, there is no intentional shift in my policy or any purpose in doing so, but it looks like it is happening inadvertently. My today’s post will be only the 4th post on a film of the 30’s this year.

Do I have an inclination towards antique films ? YES is the answer. I like to bring the unknown, the less known and the not so famous artistes of the early era to light, to bring the pillars of the film industry in Limelight, so that the younger generation knows about them and becomes aware of the difficult times through which the stalwarts carried our film industry towards today’s Glory !

While doing so, I had to do the hard yards to dig information about these forgotten artistes, contact several Historians, buy and read many books, spend hours on the Internet and collect and record the information. I was singularly Lucky to get a suitable platform to showcase my results, in the form of Atul ji’s Blog. Atul ji’s help in publishing my posts untiringly has helped not only me but the Blog has also now become a storehouse of Credible, Reliable Information on the old timers in the film world, for the use of future students of film history. Thanks a million, Atul ji.

During the writing of my posts here since 2012 till date, I have noticed one thing. I am not sure of anyone else, other than Atul ji, who has also noticed it. I observed that in the early times of this Blog from 2008, the number of visitors kept on increasing and many of the visitors took pleasure in putting in their comments on almost every post. Comments on popular film songs were naturally more, but later readers also commented on other posts, about the artistes, songs, film making, their experiences and provided additional information. Therefore, visiting the Blog was a pleasure not only to enjoy the songs posted, but also to read different comments from the readers.

I remember there were several readers from abroad who used to write comments. There were comments from readers from Singapore, Fiji, Malaysia, Australia, Newzealand, Africa, European countries, UK, USA, Dubai, Pakistan and also from several cities of India like Lucknow, Delhi, Calcutta, Bombay, Pune,Andhra, Madras, Gujarat, Maharashtra, Kerala – in fact from all nooks and corners of India and the world. Many of them were quite knowledgeable too.

Unfortunately, from somewhere from 2016-17 onwards I saw a steady drop in the number of comments from readers. Notably comments from readers from abroad diminished considerably and as of today, their number is almost nil. What could be the reason for this change ? One guess is that the older generation which commented is now too old and hence not active. The other guess could be that initially, as the Blog was new, most songs posted were the popular and well known ones, which the readers knew well, but slowly that stock, naturally, thinned out and unknown and unheard new but old songs were being discussed, which were not known to many present readers to comment upon.

The second guess seems to be more convincing. Nowadays younger contributors are posting songs from the 70’s, 80’s and the 90’s and comments are trickling from equally younger readers, though not so many as in the past. I believe the trend of appreciation, encouraging and commenting changes with the change of Readers’ Profiles.

Today’s film Chhote Sarkar-1938 was made by Sundar Movietone (never heard of it). It was directed by Homi Master. He was one of the directors of the First Generation of Hindi films of the early era, who was a spillover from the Silent Film Era. Since his career as a Director ended in 1946, there is no chance that the younger generation readers would know about him, so here is some information on him.

Homi Master (1900–1949) was an actor-director of early Indian cinema. His work extended from the silent era to the talkie era and up to his death. He produced his best films for Kohinoor Film Company and he has been referred to as “silent cinema’s most successful film-maker”.

He acted as Duryodhan in the then-controversial film Bhakta Vidur (1921), as hero in Kala Naag and Kulin Kanta. Some of his important films were Bismi Sadi, Manorama, Do Ghadi Ki Mauj (1935), Samaj Ki Bhool (1934) and Gul Sanobar (1934). He was active from 1921 to 1949 and made over seventy-eight films. His later films in Gujarati and Hindi were termed as B movies. He died in 1949.

At the age of thirteen, Master joined a famous Parsi theatre group called Bilwala. He soon became a popular stage actor, with his performance in Pakzaad Parveen being appreciated. Following a brief stint at the Phalke Film company, he joined Kohinoor Film Company working initially as an actor. He went on to direct films for them starting with Bismi Sadi.

Homi Master acted in three films before getting a chance to direct. The three films, Bhakta Vidur (1921) (in the role of Duryodhan), Ajamil (1922) and Vratasur Vadha (1923), were directed by Kanjibhai Rathod. He played the lead role in Kala Naag, a film he helped co-direct with Rathod in 1924. A crime drama, it was the first “recorded example” using real-life characters and was based on the Champsi-Haridas Murder case in Bombay.

In 1924, Master started his career as a director with Dwarka Sampat’s Kohinoor Film Company. His first film for Kohinoor was Bismi Sadi, starring Raja Sandow, Miss Moti and Noor Mohammed Charlie. The film was about a hawker who becomes a mill-owner and goes on to exploit the people working under him. Manorama (1924) was based on the famous Gujarati romantic poet Kalapi’s autobiographical poem “Hridaya Triputi”. The film was made in the fantasy genre and broke “all records” when it ran for fourteen weeks.

Other significant films at this time were The Telephone Girl (1926), also called Telephone Ni Taruni, produced by Kohinoor, and starring Ruby Myers, Gohar and Raja Sandow. Educated Wife or Bhaneli Bhamini (1927), was another Kohinoor film with Gohar, Vaidya and Raja Sandow. They were social films that were successful at the box office.

Gul Sanobar (1928) was a fantasy production from Kohinoor Film Company, based on Persian fairy tale romances, and directed by Master. It starred the then-popular star Khalil with Miss Yakbal. The film was later remade in 1934, with the same name, directed by Master and produced by Imperial Film Company. The cast included stars of the time like Sulochana (Ruby Myers), D. Billimoria and Zubeida.

His 1934 film Samaj Ki Bhool, was a social film promoting a widow’s right to remarry. It starred Jamshedji, Lalita Pawar, Jilloobai, Dulari and Rafiq Ghaznavi, with music composed by Pransukh Nayak.

In 1935, he directed three films Do Ghadi Ki Mauj a social film produced by Imperial, starring Ruby Myers and D. Billimoria; Ghar Jamai, a social comedy, a Hindi/Gujarati bilingual, produced by Premier Films with story by Mohanlal G. Dave. (A story about a “resident son-in-law” that became a “major success” at the box office). The third film, Naya Zamana was again produced by Premier Films and starred Heera and Ghulam Mohammed with music by Khansaheb.

It was said that Master was sent abroad to Europe to market Phalke’s films . He teamed successfully with scenarist Mohan lal Dave and cameraman D.D.Dabke with actress Gohar to make many popular films. Gohar called him the most dramatic director , better than Mohan Bhavnani or even Chandulal Shah. His first Talkie film was Saubhagya Sundari-1933 and the last was Chamkati Bijli-1946.

He continued to direct films making ‘B’ class films and some in the Gujarati language. According to the Encyclopedia of Indian Cinema, he worked as a production manager at Kardar Studios towards the end of his career. He died in 1949. ( based on The Encyclopedia of Indian Cinema, wiki, Film world-1946 and my notes).

The cast of the film was Jal Merchant, Leela Chitnis, Panna, Heera, Meher Bano, Raj kumari etc. Jal Merchant was a typical Parsi born on 15-1-1920 and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.

It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.

Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.

After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.

Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.

In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.

Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.

Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.

I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, HFGK, muVyz and my notes have been used in this post, with thanks.)

With today’s song by Rajkumari, film Chhote Sarkar-1938 makes its Debut on this Blog.


Song- Sukh chain ke din sab beet gaye (Chhote Sarkaar)(1938) Singer- Rajkumari, Lyricist- Pandit Amar, MD- Shanti Kumar Desai

Lyrics

Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai
koi sang na saathi saath sakhi
koi sang na saathi saath sakhi
sapna sa ?? mein aayi
sapna sa ?? mein aayi
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai

jhoothha prem ye jhoothhi aashaa
jhoothha prem ye jhoothhi aashaa
jhoothhi kaaya
jhoothhi maaya
jhoothhi kaaya
jhoothhi maaya
jhoothhe jag mein
???
jhoothhe jag mein
???
jhoothhi preet lagaayi hai
jhoothhi preet lagaayi hai
Sukh chain ke din
sab beet gaye
dukh rain andheri chhaayee hai


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4943 Post No. : 16801

Today’s song is from the film Maharathi Karna-1944.

Karna is an interesting and a great character from Mahabharat. What most people know about Karna is that he was a ” Daan shoor ” or a great Donor. It is said that no one, who went to him to ask for anything, returned without getting it. There are many stories eulogizing his quality. But karna was much more than just this. He was a great Warrior. Though he was the king of Anga Desh (today’s Bihar/Bengal), he knew that he was indebted to the Kauravas for this honour.

Karna was aware that he was helping those who were in the wrong, but he was helpless in this case. He always felt that a lot of injustice was done to him by Destiny. He knew that he was the illegitimate child born to an unmarried Kunti. This made him the Eldest ” Pandava”, but he was denied his rights due to his birth – a matter which he had no control on! Embittered, he joined the opposition – the Kauravas, who gave him all the honours- only because he was a great Warrior and on their side.

Because of this, Karna had to keep quiet when a helpless Draupadi was being disrobed by his friend Duryodhan, before all the people. Not for anything else, but for this crime, he was killed when he became helpless due to breakage of his Chariot in the midst of the war, in spite of his cry that this was against the war rules- Adharm ! Lord Shrikrishna ensured that he got his punishment.

Those who have read Mahabharat, can you tell whyLord Shri Krishna had entered the Great War but did not fight himself ? Very few persons will know that Shri Krishna entered the great war not to ensure the victory of Pandavas. He had his own agenda. He wanted to ensure that some warriors got their punishment for their sins.

Duryodhana was killed because he disrobed a helpless woman, Jayadrath was killed because he was responsible for the death of Abhiumanyu in the Chakravyuh, Bhishma was kept on arrow-bed to see his kin getting killed before his eyes, for keeping quiet when Draupadi was disrobed, Dhritrashtra had to bear all his 100 sons killed because he never stopped them from doing sins. Not only Kauravas, but even Arjun, Yudhishthir, Balram etc got punished in other ways during the great war.

Film ” Maharathi Karna ” was also made in 1928 in the Silent era. The role of Karna was done by Balasaheb Yadav in that film. The film was directed by Damle and Fattelal, for Basburao Painter’s Maharashtra Film company. Bhalji Pendharkar was the assistant Director. This story of Karna fascinated him so much that at the first opportunity he remade this film, under his own Banner.

Besides the story, there was one more reason to make this film. When the silent film was being made in 1928, Bhalji first met Leela Chandragiri, his consort of many years. Ofcourse she was in her teens then, Later she got married and had children too before they came together again at a later time. In this film in 1944, Leela had an important role. One more actor – Indurao T Nimbalkar had acted in the Silent film of 1928. He was called again to do the same role in the 1944 film too.

Bhalji Perndharkar had initial training in Baburao Painter’s Maharashtra Film Company and later in Shantaram’s Prabhat Film company. So his basics were well founded. Shri BHALJI PENDHARKAR ( 03 May 1897 – 26 November 1994 ), was Film Director, Writer, Producer & Actor, of Marathi and Hindi films. Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons- Master Vinayak (father of Baby Nanda), famous actor, director, producer and a studio owner and his brother Vasudev- who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons- V.Shantaram, famous actor, director,producer and a studio owner and his brother V. Awadhoot- equally famous Cinematographer.

Prabhat Film company shifted to Poona, but actress Leela Chandragiri chose to stay back in Kolhapur and decided to work with Bhalji Pendharkar. They became attracted to each other and got married. Leela had a son (Jaysingh) and a daughter(Madhavi- who married Marathi author Ranjit Desai. She also wrote one book.) already, but Bhalji adopted both children and gave them father’s love. Even Bhalji had one son from his first marriage-Prabhakar. Later, when they built their own studio, it was given the name Jayprabha. It combined his two sons’ names, JAYsingh and PRABHAkar.

During the riots in 1948, arising after Gandhi’s death, their Jayprabha studio was burnt, because Bhalji was a Brahmin. However, within few years he built it again. After Bhalji’s death the studio was purchased by Lata Mangeshkar.

Bhalji started his career in the era of silent films. He was associated with Prabhat Film Company’s earliest talkies, and also worked with other studios in hometown of Kolhapur. Later he acquired his own studio in the form of Jayprabha Studio and became a film producer and director. He also wrote lyrics for some film songs in Marathi. His more famous films are: Netaji Palkar, Thoratanchi Kamala, Chhatrapati Shivaji, Mohityanchi Manjula, Maratha Tituka Melvava, Sadhi Manse, Tambdi Maati. Hindi: Maharathi Karna, Valmiki, Chhatrapati Shivaji, Ganimi Kawa. He directed 9 Hindi films from 1932 to 1952.

A few years before his death, Bhalji was awarded the Dadasaheb Phalke Award by the Indian Government in 1991.

Bhalji had two wives. One of whom, Leela Chandragiri, acted and sang in Hindi and Marathi films in 1930s and 40s, under the name Miss Leela. Bhalji’s son Prabhakar Pendharkar (1933 – 2010) was associated with making of Do Aankhen Barah Haath in 1950s, wrote the book रारंगढांग, and was author-director of noteworthy documentaries. Bhalji’s daughter Madhavi (? – 2013) author of ‘Naach Ga Ghuma’, was wife of renowned Marathi author Ranjeet Desai.

The cast of film Maharathi Karna-1944 was Prithviraj, Durga Khote, Leela, Nimbalkar, Shahu Modak, K N Singh, Swarnalata, Vasantrao pehelwan etc etc. Let us know more about this Nimbalkar. I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘ Nimbalkar ‘ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.

Baburao, Damle, Fattelal etc were taught painting By Anandrao painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao painter is credited with making films a form of art and spreading it on a larger canvas of India.

Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu Maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.

One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu Maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).

Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra-32, Sinhagadh-23 etc.

After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’-38, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.

He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra-46, Subah ka tara-54, Parchhain-52, Teen batti char rasta-53, Toofan aur Diya-56, Z Z Payal baje-55. Earlier he did Aapki sewa mein-47, Prarthana-44,Nal Damayanti-45, Seedha Rasta-41, Gokul-46, Apna Ghar-42, Maharathi karna-44, Seeta Swayamvar-48. He worked in Pyasa-57, Mera Naam Joker-70, Amar Prem-60 etc etc. From 1928 to 1970 he acted in over 250 films.

His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu Moshoi, in addition to my notes, HFGK, muVyz, CRTWF, Encyclopedia of Indian Cinema and Film India magazines).

There were only 6 songs in the film, composed by K.Datta aka Datta Korgaonkar. Today’s song is the 2nd song to feature here.


Song- Jaago Krishna muraari giridhaari(Maharathi Karna)(1944) Singers- Rajkumari ,unknown male voice, Lyricist- Pt. Shiv Kumar, MD- Datta Korgaonkar

Lyrics

Jaago o o o o
o o o o
o o o o
Jaago o o o o
o o o o
o o o o

jaago Krishn muraari
giridhaari
saanwariyaa
girdhaari
ee ee ee ee
ee ee ee ee
jaago krishn muraari
giridhaari
saanwariya
giridhaari
ee ee ee
ee ee ee
nar naari pashu panchhi jaage
nar naari pashu panchhi jaage
laage ?? dwaar
bachuwa bachhia tumhen pukaare
jaago hey nandlal
bachuwa bachhia tumhen pukaare
jaago hey nandlal
ab jaago
ab jaago kunjbihaari
giridhaari
saanwariya
giridhaari
ee ee ee
ee ee ee

ujhak jharokhe sooraj aaye
ujhak jharokhe sooraj aaye
kirnon ke naina lalchaaye
ae ae ae
ae ae ae
ae ae ae
bin darshan phulwa murjhaaye
ae
ae ae ae
bin darshan phulwa murjhaaye
darshan do banwaari
ab jaago
ab jaago kunjbihaari
girdhaari
saanwariyaa
girdhaari
ee ee ee
ee ee ee

main go ras duh kar laayi hoon
main go ras duh kar laayi hoon
prem bhaav bhar kar laayi hoon
prem bhaav bhar kar laayi hoon
naath jagaane ko aayi hoon
oon oon oon oon
naath jagaane ko aayi hoon
bhor huyi sukhkaari
ab jaago
ab jaago krishn muraari
giridhaari
saanwariyaa
giridhaari
ee ee ee
ee ee ee


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4938 Post No. : 16788

Today’s song is from an early period costume film-His Highness-1937.

The film was made by Prakash Pictures, who were into making C grade stunt, action and Costume films, before they became famous for Religious and Mythological films in the early 40’s. There was nothing new in the film story, except that in addition to several villains, it had some animals opposing them along with good people. The film was directed by Balwant Bhatt, the elder brother of Nanubhai Bhatt-father of Mahesh Bhatt. The cast of the film was jayant, Sardar Akhtar, Shiriun bano, Umakant, Ismail, Radha, M.Zahoor and many others. There were 2 MDs. The usual MD of Prakash- Shankar Rao Vyas and Lalloobhai Naik. All the 12 songs of the film were written by Sampatlal Shrivastav ‘ Anuj’.

Today’s song is a Parody song. What is a Parody / ” Humorous imitation of a serious composition” is a simple definition. Like Comedy songs, Romantic songs, Childrens songs, Loris, etc, parody songs are also an important segment of poetry. Parody has a very long history. Actually one can say that a Parody is a type of comedy poem. In early Sanskrit Literature also we find Parody, which was called ” Vidamban Kavya” (विडंबन काव्य ).

When the Talkie films started, songs became an integral part of films. Once the set of film making became stable in initial 5-6 years, the films started having Parody songs in it. I remember, I had done a series on “Parody songs in Hindi films” from 16-3-2013 to 2-4-2013, on this Blog, featuring 10 Parody songs from films. In the first post of that series 9 years ago, I had given information on the first few Parody songs in Hindi films. I reproduce here a small relevant portion of that post, for the benefit of our new readers….

” The very FIRST Parody song in Hindi films came as early as 1936. It came from a film called ” Sunehra Sansaar”-1936. It was a Parody of a famous patriotic song by Dr.Iqbal-” Saare jahan se achha Hindosta hamara…” The parody song was ‘ Saare jahan se achha saabun bana hamara,hum kishtiyan hai iski…’

The lyricist was Vijay Kumar, B.A. and the Music Director was K C Dey. When the song was released, instead of becoming popular, it drew people’s ire for distorting a patriotic song. There was criticism and several protests.

Another Music Director Master Mohd. (who was well known for composing many patriotic songs in those days, in his films) decided to make a Parody of K C Dey’s famous song, ‘Jao jao aye mere sadhu…’ from Pooran Bhagat-1933.

He included this parody song in the same year in his film ‘ Miss Frontier Mail ‘-1936. The lyrics for this song were- gaao gaao aye mere aye mere sadhu…’.It was sung by Minu,the Mystique in the film. This Minu was actually Minoo Cooper, a regular singer in Bombay city Parsi circles. He used to sing in many Hotels in those days. He has also sung a few more songs in Hindi films later.

This retaliatory Parody song was well received by the audience and it became popular too.

So, parody songs entered Hindi films with an interesting History behind them ! ”

In addition to the above, there is an example of a famous Parody song which became popular in its time. The story is, when singer actor Surendra was discovered by Sagar Movietone, they decided to project him as Bombay’s answer to Calcutta’s K L Saigal. Impressed with Surendra’s singing capabilities, Sagar made him a hero in his first film ” Deccan Queen ”-1936. In this film Surendra was given a Parody song for saigal’s famous song ” Balam aaye baso mere mann mein” from film Devdas-1935. In this film the song was ” Birha ki aag lagi mere mann mein”.

Thus one finds that parody songs became instant hits in their first appearance in the initial years 1936-1937 itself. In the subsequent years many such Parody songs featured in films. The most important condition for a Parody song is that the Original song must be so popular that people will recognise it from the tune of the parody song itself. For presenting my series on parody songs, I had searched and collected about 250 parody film songs. A big list was available on the then popular group “Hamara Forum”, on the internet.

Coming to today’s parody song “Kabhi tum ko bhi hum se pyaar tha”, from film His Highness-37, it was a Parody of the famous Ghazal “wo jo hum mein tum mein qarar tha, tumhe yaad ho ke na ho” written by the famous Urdu poet Momin Khan Momin (1800-14-5-1852). he was also known as Hakeem Khan, due to his ancestral profession. He died from an accidental fall from his terrace.

The Hero of the film was Jayant. Jayant was born as Zakaria Khan,on 15-10-1912 at Alwar, Rajasthan. His father Syed Ahmed Khan was originally from Peshawar, but was working as a Sports Coach in the court of the Maharaja of Alwar,Rajasthan. Along with his elder brother Jahangir Khan, Jayant used to sell ‘Makka-Bhutta’ (Maize) on a roadside thela and thus earned his pocket money, with which he used to see films. When he grew up, he was taken by his father to the Maharaja, who recruited him as Second Lieutenant in his Army. Jayant soon got bored with this life, left the job and came to Bombay in search of a job in films. When he met Vijay Bhatt of Prakash pictures, this 6’1″ tall,handsome and young man was liked by him. Jayant also knew Horse riding and swimming. He was named JAYANT by Vijay Bhatt and offered a role in their film Nayi Duniya-1934. Rajkumari Banaraswali also debuted in this film.

Excellent Urdu delivery and handsome personality earned Jayant Hero’s roles in Bambai ki Sethani,Bombay Mail, Lal chithi, Shamsheer-e-Arab, Azadveer, Passing show, Snehlata, Top ka gola, Challenge, His Highness, Khwab ki duniya, Mr.X, State Express, Hero no.1, Sardar and Mala. By now his salary was 3700 per month. He was more at ease in Costume and stunt films than social flicks.

Khwaab ki Duniya-37 was based on the story of Invisible Man and this was the first film as a Director for Vijay Bhatt. Babubhai Mistry from Surat used Trick photography in this film,by using Black Thread on black background.

Jayant was married to 13 year old Kamarbano Sultan. His first son,Imtiaz khan was born on 15-10-42 and second son was born on 21-10-43. He was Amjad Khan (Gabbar singh of Sholay). As a child, Amjad khan was very frail and weak till his second year. Later in his youth, of course he expanded out of proportion. Jayant’s elder brother Jahangir Khan died suddenly in an accident. Jayant was very much attached to him. To forget the sorrow, Jayant started smoking and drinking. After he was out of Prakash Pictures, he was taken by Minerva for Sikander’s role. When Sohrab Modi saw him smoking and drinking on sets, he was summarily thrown out and the role went to Prithwiraj Kapoor, for whom it was a Milestone in his career.

Jayant worked in Aladdin, Laila, Bulbul e Baghdad, Mere saajan, Zewar and Dawat. He even went to Lahore to act in “Poonji” and “Shirin Farhad”. When Shirin Farhad became a resounding flop, Jayant stopped getting roles, but he never went to anyone to ask for roles. P N Arora went to Jayant’s house to sign him for Doli. After Partition, his finances became critical and he had to sell even family jewelry for his drinks. He acted in character roles in Amar ,Insaniyat, Madhumati, Maya, Memdidi, Son of India, Kabli Khan, Hakikat, Leader, Himalay ki God mein, Sangharsh, Do Raaste, Heer Ranjha, Mera Gaon Mera Desh etc. He worked in 105 films. Can you imagine Jayant singing ? Yes, he had sung a song in the film State Express-1938, along with Sardar Akhtar.

Jayant was a family man. Till the end he had only one wife and he followed the rule to partake the dinner at home with all family members daily. He contracted Cancer, lost his voice in 1970. His last film was ‘Love and God’,which was released 11 years after his death.

Jayant died on 2-6-1975. ( Thanks to shri Harish Raghuvanshi ji, for Jayant’s profile in his Gujarati book ,Inhe na Bhulana ).

The story of film His Highness was…….

When the king of Rajnagar dies, the Queen (Gulab) discovers that he had bequeathed the throne not to her mad son Pratap (Umakant), but to their nephew, the young Prince Kirit (Madhav). This made the queen very angry.

Captain Dilip (Jayant), Kirit’s bodyguard, takes the boy and his animal pals, Tiger (Dog Tiger) and Bahadur (Horse Bahadur), on an outing along with servants Ram (Lekhraj) and Rahim (Chhotejan). A group of ruffians surround Dilip and Kirit and attack them, knocking Dilip unconscious, and kidnapping Kirit. Bahadur gallops away to inform Ram and Rahim while Tiger takes off after the goons. Meanwhile, back at the palace, the aged prime minister (Jal Writer), Princess Asha (Sardar Akhtar), and Asha’s maid Kala (Shirin), are told of the kidnapping. Kala then overhears the queen planning to place the blame on Dilip for the kidnapping, thus doing away with him. Kala finds and informs Dilip that it is safest if he stays away from the kingdom for the time being.

Tiger finds Kirit but is unable to free him. However, the dog is able to lead Dilip, on horseback, to the cabin where the prince is being held. Dilip, Tiger and Bahadur put up a good fight against the ruffians, but the crooked Jalim Singh has Dilip arrested. Jalim attempts to take off with Kirit, but Ram and Rahim are able to rescue him.

The queen learns that the prince has been saved by some unknown persons and arranges that the boy should be found and killed, and that the killer will be appointed Prime Minister. Her plan is foiled by a masked man and eventually Kirit is returned safely to the palace.

But with Dilip having vanished, the minister must find someone else to play bodyguard. The Queen suggests her loyal follower Captain Ajaya (M. Zahoor), but the minister disapproves of that choice. When the Queen starts to form another dastardly plan, the mysterious masked man makes an appearance and cautions her to take no actions against Kirit. But the Queen soon ignores the warning and arranges a plot to frame the minister for some crime, thus leaving Kirit with no protection. But she didn’t count on the involvement of Asha, Kala, Tiger, Bahadur and Tommy (Dog Tommy) in trying to save the life of the child prince. (Thanks to pedrotheapebomb.com) .

let us now enjoy the Parody song,a Triad, sung by Rajkumari, Lallobhai and Ismail.


Song- Kabhi tum ko hum se bhi pyaar thha (His Highness)(1937) Singers- Rajkumari Dubey, Lallubhai, E.Ismail, Lyricist- Sampatlal Shrivastav ‘Anuj’, MD- Not known

Lyrics

Kabhi tum ko hum se bhi pyaar thha
tumhen yaad ho ke na yaad ho
Kabhi tum ko hum se bhi pyaar thha
tumhen yaad ho ke na yaad ho
wo wafa ki kasmein jo khaayin thhin
tumhen yaad ho ke na yaad ho
wo wafa ki kasmein jo khaayin thhin
kabhi chaandni mein jo khol kar
maine zulfen shaanon pe daal deen
kabhi chaandni mein jo khol kar
maine zulfen shaanon pe daal deen
mujhe tum ne dil se laga liyaa
tumhen yaad ho ke na yaad ho
mujhe tum ne dil se laga liyaa
tumhen yaad ho ke na yaad ho
tumhen yaad ho ke na yaad ho

kabhi ham bhi tum bhi thhe o sanam
tumhen yaad ho ke na yaad ho

na taka thha aapki jeb mein
tumhen yaad ho ke na yaad ho

wo anarkali ke baazaar mein
maine girvi rakkhi thhi chappalen
wo jo tumko lassi pilaayi thhi
tumhen yaad ho ke na yaad ho
tujhe yaad ho ke na yaad ho
na machine gun se na tope se
mujhe maara nakhron ke teer se
na machine gun se na tope se
mujhe maara nakhron ke teer se
main ?? ka jawaan thha
tumhen yaad ho ke na yaad ho
tumhen yaad ho ke na yaad ho
tumhen yaad ho ke na yaad ho o o


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4879 Post No. : 16674

Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha

Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.

I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.

Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.

Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.

Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.

There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.

Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.

I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.

Audio Clip:

Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash

Lyrics

hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa

shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4796 Post No. : 16557 Movie Count :

4508

‘Aawaaz’ (1942) was produced by Dadasaheb Torne under his banner, Saraswati Cinetone and was directed by Rafique Razvi. The star cast included Maya Bannerji, Wasti, Swarnlata, Danve, Kailash, Shantabai, Baby Anwari etc. Dadasaheb Torne set up Saraswati Cinetone in 1931 after the sound films came into being. His maiden sound film, ‘Shyamsundar’ (1932) completed silver jubilee run in Mumbai. ‘Aawaaz’ (1942) was the last film of Dadasaheb Torne.

I became aware of Dadasaheb Torne when his name had propped up prominently in many newspapers and magazines around the time of closing of the centenary celebrations of Indian films in May 3, 2013. The day was exactly 100 years after Dadasaheb Phalke’s first Indian film. ‘Raja Harishchandra’ was released. Vijay and Anil Torne, the sons of Dadasaheb Torne claimed that it was their father, Dadashaeb Torne who produced India’s first film ‘Shree Pundalik’ (1912) which was released in the Coronation theatre in central Mumbai on May 18, 1912.

A petition signed by many citizens including the family members of Dadasaheb Torne and Vikas Patil, the producer and the then Chairman of IMPPA was submitted to the then President, Pranab Mukherjee and others seeking the status to Dadasaheb Torne as the producer of the first Indian film ‘Shree Pundalik’ (1912). A Public Interest Litigation (PIL) was also filed in Bombay High Court seeking the honour to Dadasaheb Torne for producing the first Indian film. Both the petition as well as PIL have cited the advertisement of the film which appeared in the Times of India dated May 25, 1912 and its screening in the Coronation Theatre. The film ran for two weeks.

I could not get to know whether any decision on the petition or the judgement on PIL came out. But judging by the intense debate in the print media those days on this issue, I do not think that the Government of India gave any final response to the petition.

There were many articles which appeared on this issue in various newspapers of that time such as the Times of India, Indian Express, DNA, Mid-Day etc. Based on the articles in these newspapers, I have summarised the points of arguments for and arguments against declaring ‘Shree Pundalik’ to be the first Indian film produced by Dadasaheb Torne which are as under:

Arguments in favour of ‘Shree Pundalik’ as the first Indian film

1. ‘Shree Pundalik’ was shot on a movie camera with a cameraman. The shooting script was written by Dadasaheb Torne and his friends, Ramrao Kirtikar and Nanasaheb Chitre.

2, Dadasaheb Torne directed ‘Shree Pundalik’ beside acting. Tipnis and Joshi also acted along with other actors. The shooting was done at the junction of the then Girgaon Road and Lamington Road. So, it was a location shooting.

3. The length of the film was 4000 feet, So, it was a feature-length film as per the standard of films those days.

4. Dadasaheb Torne was continuously associated with Indian films as a producer, director, editor, sound recordist and film distributors since 1912.

Arguments against ‘Shree Pundalik’ as the first Indian film.

1. ‘Shree Pundalik’ was a recording of a drama of the same name with a camera fixed on the stage. In other words, there were no camera movements, no close-ups and multiple angle shots. As against this, ‘Raja Harishchandra’ was filmed using the cinematic techniques. It was shot with a movie camera with multiple angles and in parts. All the parts were later joined together to make a full film (editing functions).

2. It is claimed that ‘Shree Pundalik’ was 1500 feet in length with a runtime of 22 minutes whereas the length of ‘Raja Harishchandra’ was 3700 feet with a runtime of 40 minutes.

3. For ‘Shree Pundalik’, the camera was operated by a Britisher, Johnson who took the raw film to London for processing. The negatives of the film is not available in India. The film’s positive print along with other related documents was lost during the Panshet dam flooding in Pune in 1961. ‘Raja Harishchandra’ was processed in India. In the words of Dadasheb Phalke, it was a complete swadeshi film.

4. Raja Harishchandra’ was made with a shooting script. Actors were specially selected for the film. Elaborate sets were designed both for indoor and outdoor shootings. Special costumes were designed for the actors. There were shooting schedules of about 4 weeks. In other words, all the important aspects of a film making – direction, camera movements, a couple of trick scenes, art work, costumes, lighting, editing etc were handled while making ‘Raja Harishchandra’.

Government of India continues to recognise ‘Raja Harishchandra’ as the first feature film made in India and Dadasaheb Phalke as the pioneer of Indian films.

A biographical book on Dadasaheb Torne was written in Marathi by Shashikant Kinikar, a film journalist which was published in 2007. After failing to get the book though I got some material from the preview of the book. I came across an article written by Kumar Kadam in Marathi in Maharashtra Times, dated April 23, 2012 giving a short biography of Dadasaheb Torne.

Ramchandra Gopal (Dadasaheb) Torne (13/04/1890 – 19/01/1960) was born in Sukalwad village, near Malwan in Sindhudurg district. At the age of 3, his father passed away plunging the family into poverty. As a result, Dadasaheb Torne did not complete his primary schooling.

Because of poverty, the family shifted to Mumbai. Soon, the young Dadasaheb went to Karachi with a friend and worked there in a shop learning job of an electrician. After about 6 months, he came back to Mumbai and joined Greaves Cotton in their Electric Department.

In Mumbai, once he attended the premier of the Marathi drama ‘Shree Pundalik’ staged by an amateur drama company. Soon, he became attracted to Marathi drama and joined Advocate Kirtikar’s Shripad Natak Mandali. Because of his multiple talents, he became one of the important members of the drama company.

At that time, the silent films from Hollywood were getting released in Mumbai which had become popular. Dadasaheb Torne’s mind was working on the conversion of Marathi drama, ‘Shree Pundalik’ into a silent film. He was in contact with his Hollywood friend to get the knowledge of making a film and the approximate cost thereof. His friend, Advocate Nanasaheb Chitre arranged for a movie camera and a British cameraman, Johnson. Thus, India’s first silent film ‘Shree Pundalik’ was produced and directed by Dadasaheb Torne which was released in Coronation Theatre on May 18, 1912. It ran for 2 weeks.

Soon after the release of ‘Shree Pundalik’, Greaves Cotton transferred Dadasaheb Torne to their Karachi office where he became friendly with Baburao Pai (He was the same Baburao Pai who became one of the partners of Prabhat Film Company and introduced Dev Anand in ‘Hum Ek Hain’, 1946). Both of them started the business of importing silent films from Hollywood for distribution in Karachi.

After a couple of years in Karachi, Dadasaheb Torne returned to Mumbai and spent 3-4 years in Kolhapur probably to learn the nuances of film making. During the first World War period, he came back to Mumbai and started a company dealing in cine equipment like camera, films and other accessories which were required for making films. His business boomed as many had started making silent films. In 1929, Dadasaheb Torne in partnership with Baburao Pai floated ‘Super Pictures’, a film distribution firm which made a lot of profit during the boom period of silent films.

In around 1927, sound films had made their presence in Hollywood. Dadasaheb foresaw the opportunity in doing business in sound equipment. With his American associates, he learnt the use of sound technology in films. When Ardeshir Irani was planning to make India’s first sound film, ‘Alam Ara’ (1931), Dadasaheb Torne provided him Bell & Havel movie camera and the sound equipment. He himself supervised the sound recording of ‘Alam Ara’ (1931) sitting with the Sound Recordist.

In 1932, Dadasaheb floated his own film production company, Saraswati Cinetone with a studio in Pune and produced its maiden sound film, ‘Shyam Sundar’ (1932). Under this banner, Dadasaheb made 20 films in Marathi and Hindi up to 1942.

The financial constraints forced Dadasaheb Torne to rent out his studio premises in Pune to one of his close associates (W Z Ahmed?). In 1947 in the wake of the partition, his associate mortgaged the premises to a bank by forging the signature of Dadasaheb Torne. Thereafter, he ran away to Pakistan with the money he raised and along with the expensive camera and other equipment. A shocked Dadasaheb got his first heart attack after which he decided to completely retire from the films. He stayed with his family in his bungalow in Shivaji Nagar, Pune until his death in January 19, 1960.

I feel very sorry for Dadasaheb Torne as he came so close to becoming the pioneer of Indian films, but lost the honour on technical points. He was a visionary man who foresaw the advent of silent and sound films well in advance and kept himself ready in learning the techniques of film making. His efforts need to be lauded as he came from a very poor family without even completing his primary education.

It is not known whether Dadasaheb Phalke had occasion to see ‘Shree Pundalik’. But he may be aware of the short comings of the film which could have facilitated him to improve upon while planning ‘Raja Harishchandra’. I feel that Dadashaeb Torne’s contributions to Indian cinema need to be recognised some way or the other – say by instituting an award for some film related activities. A road in Pune is named after him.

Coming back to the last film produced by Dadasaheb Torne, ‘Aawaaz’ (1942) had 10 songs written by Ramesh Gupta and Kaabil Amritsari. However, accreditation of lyricist of each song is not available. There were two music directors for the film – K C Verma and Sadashiv Neverekar. Again, accreditation for each song is not available. Sadashiv Narvekar was associated with Marathi films as a music director who composed Lata Mangeshkar’s first ever recorded song in a Marathi film, ‘Kiti Hasaal’ (1942).

I am presenting the first song ‘naach naach re man pankhi’ from ‘Aawaaz’ (1942) to appear on the Blog. The melodious song is sung by Rajkumari Dubey. An almost similar sounding tune was used in the mukhada of the song, nain dwaar se man mein wo aake in ‘Saawan’ (1959). But I guess that this has more to do with the same raag-based songs than getting inspired from the tune of the song under discussion.

With this song, ‘Aawaaz’ (1942) makes its debut on the Blog.
Audio Clip:

Song-Naach naach re man pankhi tere saajan aayenge(Aawaaz)(1942) Singer-Rajkumari, Lyricist-Kabil Amritsari/Ramesh Gupta, MD-K C Verma/ Sadashiv Nevrekar

Lyrics

naach naach re
naach naach re man pankhi
tere saajan aayenge
naach naach re man pankhi
tere saajan aayenge
phoolon ka chaadar sajaa le
phoolon ka chaadar sajaa le
aasha ke ae ae ae ae
aasha ke man deep jalaa le
aasha ke man deep jalaa le
(??) ko dhoond rahi hain ankhiyaan
(??)ko dhoond rahi hai ankhiyaan
kab saajan aayenge.. ae ae
kab saajan aayenge
naach naach re mann pankhi
tere saajan aayenge

jeewan ki ee ee ee
ho…. o
o o o o
aa aa aa aa aa
aa aa aa aa aaa
jeewan ki ?? lehraaye
?? ankhiyan basaayen
manwa meethhe gaane aaye
gaane gaaye
gaane gaaye
manwa meethhe gaane aaye
kyaa
tere saajan aayenge
haan
aayenge
naach naach re mann pankhi
tere saajan aayenge


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4793 Post No. : 16553 Movie Count :

4507

Leela Desai was one of the top actresses during 1937-47 both in Kolkata and Mumbai. There was a curiosity in me as to why she suddenly disappeared from the film industry after 1947 when her career was at the peak. Thereafter, she lived in almost obscurity. What is surprising about Leela Desai is that information about her date/year of birth, her marital status, what she did after she left the film industry and when she passed away are unknown or sketchy.

Leela Desai was the 4th of the 5 children born to Dr Umedram Desai from Gujarat and Satybala Devi, daughter of a Bengali landlord settled in Bihar. It was a second marriage for both of them as Satyabala Devi lost her husband during the childhood while Dr Umedram Desai got married to his first wife in his childhood through whom he had two sons. Later, Dr Umedram Desai married Gunobati Mitter, a Bengali Christian, for the third time with whom he had 6 children. Before her marriage, Gunobati Mitter worked as a tutor for the children of Dr Umedram Desai and Satyabala Devi in Rampur. So apart from her own 4 siblings, Leela Desai had 8 step brothers/sisters.

Leela Desai was born in Newark when her parents were in the USA for a 3-year stint. She was brought up in Rampur as her father, Dr Umedram Desai became the State Surgeon for the State of Rampur and the personal Physician to the Nawab of Rampur. At the age of six, Leela Desai was sent to Kolkata for her primary schooling and to Kurseong near Darjeeling from where she completed her Matric and Junior College. Thereafter, Leela Desai returned to Lucknow by which time her father had passed away in Mumbai. In Lucknow, she enrolled to learn Kathak from Shambu Maharaj. During her training, she gave a lot of charity dance performances and made a good name as a dancer.

Hemchandra Chunder, one of the film directors in New Theatres who was on a visit to Lucknow, attended one of Leela Desai’s dance performances. He was impressed by her dance performance with her expressive eyes. He offered her a role of a younger sister of Kamlesh Kumari in New Theatre’s ‘President’ (1937) in which she had also a dance performance. At first, she did not show much interest to work in the film. However, after few days when she watched New Theatres’ Krorepati’ (1936), she felt that she could act in the film. She wrote to Hemchandra Chunder about her willingness to work in the film. The fact that Hemchandra along with Nitin Bose rushed to Lucknow with a contract showed their eagerness to take Leela Desai for the film without the screen test.

‘President’ (1937) became a hit on the box office and Leela Desai’s performance in the film was appreciated so much that overnight she became the star. Under New Theatres’ banner, apart from ‘President’ (1937), she worked in ‘Vidyapati’ (1937), ‘Dushman’ (1938), Kapal Kundala’ (1939) and ‘Nartaki’ (1940). Except ‘Kaapal Kundala’, she also acted in Bangla versions of the films and had also dance performances in these films.

After ‘Nartaki’ (1940), Leela Desai left New Theatres and took a year-long all-India tour with her dance troupe which became very successful both in terms of recognition as a dancer as well as in monetary terms. After accepting the attractive offer from Chimanlal Trivedi of Laxmi Productions, she landed in Mumbai to act in their maiden film ‘Tamanna’ (1942). In Mumbai, though Leela Desai worked as a free-lance actor, she was associated with Laxmi Productions for ‘Inkaar’ (1943), ‘Sharaafat’ (1943), ‘Miss Devi’ (1944), ‘Kamala’ (1946), and ‘Maharani Milandevi’ (1946). She also worked with her New Theatres’ colleagues and directors in Mumbai such as Nitin Bose in ‘Paraaya Dhan’ (1943) and ‘Mujrim’ (1944), with Debaki Bose in ‘Meghdoot’ (1945) and with Kidar Sharma in ‘Kaliyaan’ (1944). In addition, she worked with veterans directors like Vishram Bedekar in ‘Nagad Narayan’ (1943), R S Chaudhary in ‘Magadraj’(1946) and with Ramchandra Thakur in ‘Geet Govind’ (1947).

During her short filmy career between 1937-47, Leela Desai worked in 22 films. After 1947, Leela Desai seems to have taken a ‘voluntary retirement’ from the film industry. Her only connection to filmy industry after 1947 was that her name appeared on the credit titles of Bimal Roy’s film, ‘Kabuliwala’ (1961) as Associate Producer. It is said that Leela Desai bought the rights of ‘Kabuliwaala’ (1961, Bangla) from Tapan Sinha with an intention to make the film in Hindi. However, later she sold the rights to Bimal Roy.

Leela Desai’s elder sister, Shanti Desai was married to Bratindranath Tagore, a nephew of Gurudev Rabindranath Tagore. Her younger sister, Monica Desai was also an actress in Bangla and Hindi films who got married to film director, Phani Majumdar in 1947.

As I said earlier, not much information about Leela Desai was available after she left the films. One of the commentators has mentioned on the facebook page that Leela Desai remained unmarried for rearing the children of her elder sister, Shanti who passed away at a young age. If it is true, it is a sacrificial act by her to leave the film industry and remain unmarried to take care of her elder sister’s children.

Another reference I got about Leela Desai after her leaving films was from an obituary of Sumita Sanyal written in 2017 by Shoma A Chatterji, a film scholar and a free-lance journalist. In this article, she has mentioned that Leela Desai was staying in Mumbai at her apartment in Worli Sea Face where she used to conduct acting classes for the prospective actors coming from Kolkata. One of such actors to whom she gave acting training was Sumita Sanyal. It is possible that Leela Desai may have recommended Sumita Sanyal to Hrishikesh Mukherjee for the film ‘Ashirwaad’ (1968).

As per the comment on Upperstall, written by Shoma A Chatterji in the context of yester year stars who passed away in oblivion, it was stated that Leela Desai passed away in Mumbai. But her date/year of death was not mentioned. She further stated that none of the newspapers and film magazines carried the news of her death.

Leela Desai who started her filmy career with her maiden film “president’ (1937) under the direction of Nitin Bose, got the opportunity to work under his direction in ‘Paraaya Dhan’ (1943) and ‘Mujrim’ (1944), later film being also produced by Nitin Bose under the banner of Vishnu Cinetone. The star cast included Motilal, Leela Desai, Jagdish Sethi, Yakub, Veena Kumari, Sunalini Devi, Cuckoo etc.

From a very short synopsis available on-line, the film was a ‘musical crime-thrilling family drama’. Motilal is a kind hearted person who meets Leela Desai and fall in love with her. Both of them want to marry each other but a villain, Yakub comes in the way as Leela Desai would inherit a lot of wealth if she gets married. So, Motilal is framed under a false murder case by Yakub. How the real culprit is traced and Motilal and Leela Desai get united, becomes the part of the thrilling end.

The film had 6 songs written by Kailash Matwala (4) and Rammurti Chaturvedi (2). The songs were set to music by Padmabhushan Pandit Jnan Prakash Ghosh, one of the greatest Tabla and Harmonium players.

I am presenting the first song ‘mori dukaniya aana baabu’ from ‘Mujrim’ (1944) to appear on the Blog. The song is rendered by Rajkumari Dubey on the words of Rammurti Chaturvedi. It is very melodious song with unusual orchestration. There is also some influence of Rabindra Sangeet in the musical composition of the song.

With this song, ‘Mujrim’ makes a debut on the Blog.

Note: Leela Desai’s early life sketch is based on an article which appeared in July 1942 issue of ‘Filmindia’ magazine after the release of ‘Tamanna’ (1942), her maiden film in Mumbai. Some personal information about Desai family is supplemented from a Blog of Adeel Desai.

Audio Clip:

Song-Mori dukaniya aana baabu (Mujrim)(1944) Singer-Rajkumari, Lyrics-Rammurty Chaturvedi, MD-Pandit Jnan Prakash Ghosh

Lyrics

mori dukaniya aana baabu
mori dukaniya aana
mori dukaniya aana baabu
mori dukaniya aana aa aa
bhaant bhaant ke phool rangeele
des lekar jaana
haan aan aan
bhaant bhaant ke phool rangeele
des lekar jaana baabu
mori dukaniya aana aa aa

jeth maheena aa aa
raat ki raani ee ee
jeth maheena raat ki raani
phoolen aadhi ratiyaan aan aan
jeth maheena raat ki raani
phoolen aadhi ratiyaan aan aan
bahey paseena jee ghabraaye
saajan karen na batiyaan
karen na batiyaan
karen na batiyaan
aan aan aan aan aan aan
phool ka haar pahan ke sajni
saajan ko lalchaana aa aa
mori dukaniya aana baabu
mori dukaniya aana aa aa

aaya maas ashaadh
chameli phooli kyaari kyaari
aaya maas ashaadh
chameli phooli kyaari kyaari
kali kaliyon mein se khushboo nikli pyaari pyaari
chilla chilla kar baabu mere roothhi naar manaana
chilla chilla kar baabu mere roothhi naar manaana
baabu roothhi naar manaana
mori dukaniya aana baabu
mori dukaniya aana aa aa
bhaant bhaant ke phool rangeele
des lekar jaana
baabu
mori dukaniya aana aa aa


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4751 Post No. : 16486 Movie Count :

4479

Today’s song is from the film Maharani Minal Devi-1946. This film was made by Lakshmi Productions, Bombay, owned by the Director Chimanlal Trivedi. This film was made on a remarkable historical personality from Gujarat.

Bombay film industry has made more than 12000 films so far, on various Genres, but it’s score on making films on Historical Indian personalities is very pathetic. While films on Mughal Kings, Queens and other personalities were made in all decades since the films started talking, not much focus was given on Indian historyHero and Heroines. Not that no films were made at all on them, but if you see its number, there can not be a justification for the large gap.

In the history of India, there were hundreds of such worthy sons and daughters who fought for the country, brought social reforms, did extraordinary work for the people and generally did things for which the country remembers them proudly. Actually,in every state of India, there are Heroes and Heroines who did a lot of good work for the people, in the past few hundred years. Sadly, Hindi films are very poor on this count.

However, I find that regional cinemas are way ahead of Hindi cinema in this matter. Particularly I would quote Tamil, Telugu, Kannada and Bangla films in the first list. The second list is of Marathi and Oriya films. Mind you, I am not talking about films on religious personalities and saints like Kabir, Tulsida etc. Even in this category, very few are the subject matter of Hindi films.

People like Rana Pratap, Ishwarchandra Vidyasagar, Rabindranath Tagore, Dhondo Keshav Karve, Rani Chennamma etc etc deserved Hindi films. The entire focus was on Mughals and those who came from outside.The regional films at least did some justice by making films on their Heroes/heroines. Tamil and Bangla films are leaders in this. The strong Regional Pride was the causal factor essentially but honouring heroes is a matter of appreciation. Films on Babar, Humayun, Shahjehan, Bahadurshah Zafar and the likes of them are made in plenty, for obvious reasons, but how many films were made on Savarkar, Shivaji, Rana Pratap, Ashoka the great, Jhansi ki Rani etc ? Leave the older ones. Are there films on Indira Gandhi, Nehru, Gandhi ? A British person had to come here to make a film on Gandhi !

During the British rule – till 1947 – it was probably not possible, allowed or was risky, but since 1947 till date what was the problem ? I feel sad at this state of affairs in making films. Luckily, in the last few years, some enterprising filmmakers have dared to make films on Indian Heroes. I do hope that the situation will improve further and films on Indian heroes/Heroines (there are plenty of them) will be made.

Film maharani Minal devi-1946 is a film on a brave, intelligent, kind and Patriotic personality from Gujarat. I could not get any information on her, the story of the film or other details. Fortunately, I could find a site http://www.streeshakti.com, wherein I found a note on her. here it is to get an idea who she was and what she did….

“Minal Devi or Mayanalla, a famous queen of eleventh century Gujarat, is remembered as an able and just administrator. She was the daughter of Jayakeshin, a king of the Kadamba dynasty in Karnataka and was married to Karna I, a Chalukya king of Anahillapatanawada who met an early death, leaving his queen and young son Siddharaja Jayasimha. Minal Devi acted as regent for her son, who went on to become a legendary hero. An incident described in Rajashekhar Suri’s Prabandha Kosha testifies to the fact that she inspired him in many of his warlike exploits.
She also managed affairs of state, built several monuments and lakes and was responsible for the remission of the tax on pilgrims visiting the Somnath temple. Two lakes built in her period were Minalasar or Munsar near Viramgam and Malva at Dhavalakka or Dholka in Ahmedabad. According to legend, there was a house owned by a woman at the proposed site of the lake Malva, which needed to be demolished to give the lake a regular shape. The queen offered a big sum of money to the woman for her house, but she refused, saying, ‘I shall be famous with your lake,’ thus threatening to sacrifice her life if her house was touched. The queen did not coerce her, showing herself to be a just ruler. This event led to the Gujarati saying: ‘If you want to see justice, go to Dholka and have a look at Malva lake.’

Minal Devi is mentioned with high esteem in contemporary literature. A Sanskrit play entitled Mudritakumudachandra-prakarana depicts a learned dispute between the Digambaras and Svetambaras, the two major Jain sects. One topic in this dispute is whether a woman can achieve salvation. The Svetambaras here claim that women possessing sattwa (identity: an inner quality of goodness) could attain salvation and cite Sita from mythology and Minal Devi in the court of Siddharaja Jayasimha as examples.”

The film had 7 songs written by two lyricists, composed by Saraswati Devi-the music Director. The film was directed by Chimanlal Trivedi. The cast of the film was Prem Adeeb, Leela desai, Durga Khote, Jagdish bSethi, Agha, Sankatha prasad and many others. Director Chimanlal trivedi was a remarkable enterprising person.

Chimanlal Trivedi, was one of the major filmmakers of the 30s and the 40s decade. He was more a Producer businessman than a Director. While he directed hardly 7 films, he produced close to 50 films- all having A grade actors, directors and composers !

Born on 19-3-1909 at a village near Anand in Gujarat he was from a Brahmin family. He did his schooling in Ahmedabad and technical graduation from Baroda. Being an expert in weaving, he took up a job as a weaving Master in Calcutta. Fond of writing, he started writing Dramas, which were staged in Bengal and Gujarat. He was attracted towards Cinema and tried some work in New Theatres. Knowing that the real playing field is Bombay he reached there. He wrote stories for the film Chevrolet-36 and Danger Signal-37 for Mohan pictures.

He established his own production company CIRCO (Cine Industries Recording COmpany) in 1937. By 1943, he had made 12 films. He preferred not to direct his films, but appointed directors like Mohan Sinha for Laxmi-40, Anuradha-40 and Vanmala-41, Balwant Bhatt for Suhag-40 and Madhusudan-41, A R Kardar for Swami-41 and Nai Duniya-42 and Debki Bose for Apna Ghar-42.

He had the art of getting the most popular stars for his films like, Prithviraj kapoor, Chandramohan, Durga Khote,Mazhar khan, Bibbo,Surendra, Jairaj, Sitara, Jeevan, Yaqub, Shobhana Samarth, Prem Adeeb, Vishnupant Pagnis,Leela Desai, Pahadi Sanyal, Shanta Apte and many others. Even big directors like Debki Bose,Nitin Bose, Kardar,Mohan Sinha, Sarvottam Badami, Nandlal Jaswantlal,Profull Roy, Sudhir Sen, R S Chaudhary, Phani mujumdar, Balwant Bhatt etc. worked for him. From Prabhat he brought Shanta Apte for Rs.1000 pm, and also Chandramohan, Pagnis and Mazhar khan. His friend Chandulal Shah followed his way and brought K L Saigal from New Theatres !

C L Trivedi was an expert in gathering funds for his films. After CIRCO at Parel, he started Laxmi Productions at Andheri, in 1942. He made mera Gaon,Sharafat,Bhagya Laxmi,Kadambari,Tamanna,Inkaar,Mohabbat,Miss Devi etc. In 1951, it was Supreme Pictures, Trivedi Productions was in 1952, Kala Kendra in 1953 and with Chitra Bharati in 1954, he made 13 films upto 1961. Top Composers like Timir Baran,Ashok Ghosh,Rafiq Gaznavi,K C Dey,Saraswati Devi,Husnlal-Bhagatram and Naushad gave music to his films.

In the end, he turned to Stage and started Abhinay Bharati. He staged many dramas in Bombay and Gujarat. Chimanlal always went for big names. He had close relations with Nehru, Menon, Morarji Desai, and other National leaders. His wife Kantaben was a Leader herself. Chimanlal Trivedi died on 25-11-1973. His wife, 3 sons and a daughter settled in the USA.

It may be a coincidence, but Gujarati businessmen like Chimanlal Trivedi, Chimanlal Desai,Chimanlal Luhar, Chaturbhuj Doshi, Chimankant Desai, Chunibhai Desai and Chandulal Shah made sizable contribution to Hindi cinema in the first 20 years of the Talkie era. All names started with CH ( ? ) !

Today’s song is sung by Rajkumari dubey. With this song the film makes its Debut on this Blog.


Song- Ae maina madhubaina tu kehna sajan se (Maharani Minal Devi)(1946) Singer- Rajkumari Dubey, Lyricist- Not known, MD- Saraswati Devi

Lyrics

Ae maina
madhubaina
tu kehna sajan se
sapnon mein aaye na
Ae maina
madhubaina
tu kehna sajan se
sapnon mein aaye na
chupke chupke
nindiya churaaye na
chupke chupke
nindiya churaaye na
sapnon mein aaye na

raat ko jab main sudh budh khowoon
nindiya ka main jhoola jhooloon
chanda ki kirnon mein chhupke
muskaata wo aaye
chanda ki kirnon mein chhupke
muskaata wo aaye
dheere dheere man mein samaaye
soye peer jagaaye
main man ki
main man ki us ko poochhoon
wo bhed na kuchh batlaayen
wo bhed na kuchh batlaayen
main pallaa uska pakdoon
main pallaa uska pakdoon
wo apna aap chhudaaye
wo apna aap chhudaaye
isi raar mein sapna toote
aankh meri khul jaaye ae ae
aankh meri khul jaaye

aankh khule to yaad mein unki
gaaun geet piya ke
gaaun geet piya ke
taaron ki aankhon mein chhupke
phir wo kare ishaare
phir wo kare ishaare

sun ree pyaari koyal kaali
sun ree pyaari koyal kaali
jaa ke sajan ko keh de aali ee ee ee
keh de aali
bhola sa man mera
bhola hai man
bhola sa man mera
bhola hai man
kisi ko tarsaaye na
sapnon mein aaye na
kisi ko tarsaaye na
sapnon mein aaye na


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4699 Post No. : 16391 Movie Count :

4454

Today’s song is from an unknown film – Daawat aka invitation-1943.This film falls under the II category of ” Road Closed” movies – which means, except for the information given in HFGK, no other information about the film is available anywhere, as on today. What do we do then ? Nothing. Just try to know more about whatever is available.

The film was made by Eastern Pictures, Bombay. It was directed by M.Nazir, who apparently directed only this film. However, he acted in 15 films, from Zingaro-35 to Mala-41. I found one more name, Nazir Ajmeri (5 films) as a director. Obviously he must be a different person. There were 8 songs in the film, written by lyricist Tanvir Naqvi. He was one of those people who first migrated to Pakistan after partition and then came back to India to get some work and then went back again to Pakistan for good.

Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.

In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The Music Director of this obscure film was equally obscure – Vasant Kumar Naidu. There were a number of people who came to Bombay to try their luck in films. They had hopes, skill and a will to do hard work. Such people came to Bombay from all over India. Naidu came all the way from Burma-via Madras. All could not succeed. Those with strong Luck got some God Fathers and some could get opportunities which they turned into solid performance, but some could not get any of these and remained unknown. There are strange cases where Luck just came near but eluded them leaving them empty handed.

Vasant Naidu was not only one such person, who could not become a big name, but he was also one about whom hardly any information was available anywhere. In the case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag wrote about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu visited this Blog and left some comments on an article . I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging a few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar was born on 5-6-1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen on dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years old when her father passed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to give tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a lawsuit against these 3rd generation greedy family members. The lawsuit has been going on now for the past 3 years.

When luck is not in your favour, any amount of hard work, efforts or support from influential persons does not work. This is amply proved by what happened in Naidu’s case. Naidu, before starting as an independent composer and even later, for some time, was an assistant to Anil Biswas. To help Naidu establish, Anilda sometimes used to put a word to known people for him as M.D.

Anilda knew Harishchandra Rao kadam very well. When he decided to become a Producer and make a film “Sukhi Jeevan”, Anilda met him and took a promise from him to make Naidu the MD for that film.

Harishchandra Rao wanted Master Bhagwan as the film’s Director. Bhagwan agreed but put a condition that C.Ramchandra be made the MD for this film. Rao told him about Anilda and the promise given for Naidu. Bhagwan refused his film if C.Ramchandra was not made MD. To solve this problem, Anilda was called and after discussing with all, he withdrew his demand for Naidu. Thus Naidu lost and C.Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 , to start his career ! ( from the book ” Ek Albela” by Isak Mujawar).

Vasant Kumar started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for the film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with the film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audiences was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small-time composers like him.

Today’s song is a duet by Rajkumari and G M Durrani. This rare song comes from Shri Abhay Jain ji (US) and was uploaded by Sadanand Kamath ji for me. Thanks to both. With this song, film Daawat-43 makes its Debut on this Blog.


Song- Nain se nain milaaye aao (Daawat)(1943) Singers- G M durrani, Rajkumari, Lyricist- Tanveer Naqvi, MD- Vasant Kumar Naidu
Both

Lyrics

Nain se nain milaaye aao
Nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

nindiya ban kar do nainon mein
sapnon ke pat kholen aen aen
nindiya ban kar do nainon mein
sapnon ke pat kholen

nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen

main raat gaye ka sapna
main raat gaye ka sapna
main saanjh bhaye ki dhool
saanjh bhaye ki dhool
main pawan ki sheetal ??
main pawan ki sheetal ??

main bhor bhaye ka roop
main bhor bhaye ka roop
ye bhed kabhi na kholen aen
bhed kabhi na kholen
Man ko man se taulen aen aen
Man ko man se taulen

main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun

main bhannwra ban kar it ut doolon
door door ho aaun
door door ho aaun
aur munh se kuchh na bolen
aur munh se kuchh na bolen
Man ko man se taulen aen aen
Man ko man se taulen


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4680 Post No. : 16359 Movie Count :

4442

Writing on old films, its people and its music is an unusual hobby. Such people are very few and what they write is read by a limited but a large circle. This group of people are exclusive and generally they are not recognised by the society. Funnily, ” writing on old films” is mainly ( and wrongly) equated with old songs only. people are not aware that there is a world beyond old songs and music as far as old films are concerned.

Whenever I tell people that ‘ I write on old films’, their immediate reaction is to start praising old songs which they know. Depending on the age of the person, the period of ‘ old films’ differs. For an young man of, say 20-25 years old films may mean films which came in the 80’s and 90’s. For people of 30-40 years, films of the 6o’s and 70’s are old films. For people of 45-60 years of age, old films are from the 50’s. Only people in the age bracket of 65 to say 80/85, it is films of the 30’s and 40’s which are old films !

Irrespective of the age group and their definition of old films, people unanimously equate films with songs only. That is why I say films have 2 parts…..
1. Poetry – It consists of the songs, the lyricists, the Music Director, the arrangers, instruments used and its players, how songs are presented, who is the singer etc etc.
2. Prose – It consists of information of the producing studios,producers, directors, actors, film stories, locations, cinematography and all those who help make a film-other than songs and music.

Most Social Media sites and groups centre around film music, songs, singers and related topics. I would guess that about 95 % groups and sites belong to this category. However, the remaining 5% groups and sites, Blogs loyally give importance to people connected with film making. They collect and provide information on the old films, production houses, biographies of artistes, producers, directors, cinema stories,filmographies, interviews with people etc etc. These sites and groups are exclusive and known only to people who are interested in this aspect of films, for whatever reasons.

However, I strongly believe that the 2 parts, i.e. Prose and Poetry of films are incomplete without each other. One may specialise in knowledge of one part, but he can not do without having a sufficient knowledge of the other part too. For example, if I specialise in the Prose part of old films, I also have a sufficient knowledge of the Poetry part of the films. Therefore,instead of specialisation, i would call it a Preference of the particular part. I have also noted that most people who write or do any kind of blogging or ‘siting’ of old Hindi films, do this as a Hobby. In a way, it is ” Love’s Labour” for them.

Another point.As is generally believed,all people connected with this hobby are not the ‘Retired ‘ people. There are enthusiastic bloggers in this field, who are professionals having either a job or a business. Some high profile bureaucrats, some doctors, educationists, professors, senior managers in Government or private enterprises or even directors of companies. They are of course in the age group of 45 and above. Not that there are no young people involved in old films. Just take a round of related pages on Fb, you will find quite young people enjoying old songs and also putting their ‘ knowledgeable’ remarks/comments.

I developed this love of old films quite early, in my early or pre teens, perhaps.As the youngest member of a big joint family, I was assigned the duty of accompanying the elders, whenever they went to see a film – which was quite often. I started liking films (mostly mythological or social films) and their songs. I branched off into seeing action and stunt films with my friends. Language was not a bar. Hyderabad being a multilingual state, I used to see films in Hindi, Marathi, Telugu, Tamil, Kannada, English (especially Republic Serials like Captain Marvel etc.)

I developed a habit of jotting down the details of the film seen, in a notebook. This habit lasted with me till about a few years till I reached my final college year in the late 50’s. Once I joined my job and then got married, my notebook writing stopped. I had carefully preserved these notebooks till I started writing articles. But by that time many notebooks had faded, some were torn, some had white ants. I salvaged many and transcribed from the spoiled ones, but some information was lost forever. Still, what remained was enough for me to write hundreds of posts and film synopsis. Good habits always help !

Believing in discipline and organised work, all my more than 1000 articles are neatly stacked in 45 Long books. More than 1100 Bio sketches of cine artistes are in my Laptop. I have 100s of books, purchased and got as gifts from the authors,in Hindi, Marathi and English. I have already written in a diary what is to be done of all these after I leave and also informed the person. The idea is not to waste all this knowledge and that the next generation should have it readymade.

Today’s post has become a different one. Once in a while, some diversion !.

Today’s song from the film Torpedo-41 is a lovely, sweet song by Rajkumari Banareswali. This was a Costume film as per HFGK, but looking at the actors it seems to be a mixture of action and stunt. The cast is Yashwant Dave, Shehzadi, Samson, Meher Sultana and others. The director was N A Mansuri, B.A. He later directed 2 more films, Soorat-47 and Sanwariya-49. I wonder what must he be doing in between ? Music was by Shyam Babu Pathak and Shanti kumar. With this song, film Torpedo makes its Debut on the Blog. Thanks to Shri Abhay Jain(US) for the rare song and Sadanand Kamath ji for uploading it for me.


Song- Chal Saajan chal saajan Ek chhoti si duniya apni basaayen (Torpedo)(1941) Singer- Rajkumari-Banareswali, Lyricist- Kabil, MD- Shanti Kumar Desai

Lyrics

Chal Saajan
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

is duniya se ae door kahin jaa kar
is duniya se ae door kahin jaa kar
door kahin
door
door kahin
door
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

prem ka deepak man mein jalaa kar
prem ka deepak man mein jalaa kar
kaali ghata ka parda hataa kar
kaali ghata ka parda hataa kar
duniya ki nazron o o o se
duniya ki nazron o o o se
ojhal ho jaayen
ojhal ho jaayen aen aen
Chal Saajan
Chal Saajan
Ek chhotisi duniya apni basaayen
Chal Saajan
Chal Saajan

ham tum hon wahaan
aur na ho koi
ham tum hon wahaan
aur na ho koi
bhor bhaye aji saajan ho
bhor bhaye aji saajan ho
viyog ke baadal kabhi na chhaayen
viyog ke baadal kabhi na chhaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4656 Post No. : 16324

“Firdaus”(1953) was produced by M S Ahluwalia and directed by Vasant Joglekar for New Premier Films, Bombay. The movie had Geeta Bali, Anoop Kumar, Rama, Om Prakash, Lalita Pawar, Jamaal Amrohi, Badri Prasad, Randhir, Pesi Patel, and Vasant Thengadi etc in it with Ashok Kumar in guest appearance.

The movie had eight songs in it, all being female solos, sung by four singers- Rajkumari (3), Geeta Dutt(2), Asha Bhonsle (2) and Lata Mangeshkar (1). Two songs have been covered so far.

Here is the third song from “Firdaus”(1953) to appear in the blog. This song is sung by Rajkumar. D N Madhok is the lyricist. Music is composed by Robin Chatterjee.

Only the audio of the song is available. The song sounds like a mujra song to me, going by its lyrics. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dekhi re anaadi tori preet (Firdaus)(1953) Singer-Rajkumari, Lyrics-D N Madhok, MD-Robin Chatterjee

Lyrics

dekhi re anaadi tori preet
dekhi re anaadi tori preet
dekhi re anaadi tori preet
anaadi tori preet

jhooth mooth ki baat ko
maine jaana saanch
ab door khade muskaat ho o o
dekh begaani aanch(?)
mare hue ko marna yaa kaahe ki reet ho
kaahe ki reet
anaadi tori preet
anaadi tori preet
dekhi re anaadi tori preet

tum bin jeena maut baraabar
tum bin jina maut baraabar
aur julam bedardi na kar
aur julam bedardi na kar
hamne apni haar maan li ee ee ee ee
hamne apni haar maan li
maan li tori jeet
maani tori jeeet
dekhi re anaadi tori preet
anaadi tori preet
dekhi re
dekhi re anaadi
anaadi tori preet
dekhi re anaadi tori preet


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 17000 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17014

Number of movies covered in the blog

Movies with all their songs covered =1325
Total Number of movies covered=4609

Total visits so far

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Blog Start date: 19 july 2008

Active for more than 5000 days.

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